| Abstract | Rad se bavi analizom hagiografskih i općih judeokršćanskih elemenata u ruskoj književnosti početka XX. stoljeća na primjeru poeme „Vladimir Iljič Lenjin“ Vladimira Vladimiroviča Majakovskog. Djelo veliča naslovni lik prikazujući ga u svjetlu nepogrešive ličnosti, uzorita revolucionara i neprikosnovena komunista, pri čemu autor u Lenjinovoj personi sukobljava sliku čovjeka i božanstva, sliku smrtnika i uskrsloga. U pozadini svega leži refleksija o idejama marksizma i proleterske revolucije koje pisac silno želi približiti ruskome čovjeku toga vremena koristeći se kulturološkim obrascima koje su istome znani stoljećima.
Uslijed toga već sama vizualna podjela teksta ukazuje na uobičajeni siže ruskih srednjovjekovnih žitija, što se dalje dokazuje opisima vanjštine, životnih podviga i krajnje principijelnosti u svakom postupku likova. Ono što razlikuje Lenjina od npr. kneza Aleksandra Nevskoga je to što Lenjin uz cijeli kolektiv postaje božanstvom, novom moralnom okosnicom, dok je knez ponizan i pred Bogom jednak s ostatkom čovječanstva. Tako se vođa proletera približio slici Isusa Krista – kao spasitelj, čudotvorac i sveprisutna duhovna snaga, no isto tako kao nemilosrdan i neumoljiv osvetnik.
Osim što se za izgradnju fabule Majakovski koristio riznicom hagiografskog i biblijskog naslijeđa, kako bi se na što dubljoj razini povezao s ruskim svetačkim predajama i judeokršanskim kolektivnim pamćenjem proizišlim iz Biblije, iznimno se vješto poslužio raznolikošću ruskoga jezika u koji je kao futurist pomno utkao kako neologizme tako i crkvenoslavizme, trokratna ponavljanja misli nalik molitvama, a možda i elemente semantike hebrejskoga jezika. Takvim postupcima dokazuje svoju spisateljsku vještinu, erudiciju te kako u svakom novom ima mnoštvo starog, kako je svaki prototip dobro skriven arhetip. |
| Abstract (english) | The paper deals with the analysis of hagiographical and common Judeo-Christian elements in Russian literature at the beginning of the 20th century using the example of the epic poem ”Vladimir Ilyich Lenin” by Vladimir Vladimirovich Mayakovsky. The piece glorifies the title character by portraying him as an infallible personality, an exemplary revolutionary and an undisputed communist, with the author clashing, in Lenin's persona, the image of a man and a deity, the image of a mortal and a resurrected being. In the background of everything one is presented with a reflection on the ideas of Marxism and the proletarian revolution, which the writer wishes to bring closer to the Russian people of his time, using cultural patterns that had been known for centuries.
As a result, the very visual division of the text points to the usual outlines of medieval Russian hagiographies, which is further proven by the descriptions of the characters' appearance, accomplishments and their utmost righteousness in every situation. What distinguishes Lenin from e.g., Prince Alexander Nevsky, is the fact that Lenin, along with the entire collective, becomes a deity, a new moral centre, while the prince remains humble and equal before God with the rest of humanity. Thus, the leader of the proletariat comes close to the image of Jesus Christ - as a savior, miracle worker and omnipresent spiritual force, but also as a merciless and implacable avenger.
In addition to the fact that Mayakovsky used hagiographical and biblical heritage to build the plot, so that he could, on the deepest possible level, connect with Russian hagiography and Judeo-Christian collective memory coming from the Bible, he made extremely skillful use of the diversity of the Russian language, into which, as a futurist, he carefully weaved both neologisms and Church Slavonicisms, triple repetitions of prayer-like thoughts, and perhaps elements of Hebrew semantics. Such techniques demonstrate his writing proficiency, erudition, and that there is plenty of old in everything new, that every prototype is a well-hidden archetype. |
